Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Resumen. Estamos antes una obra valiosa a la vez que atípica en su concepción y desarrollo, en la que el autor propone apostar por la implantación de un modelo diferente de intervención sobre las áreas protegidas, al que denomina Producción de la Naturaleza, y que descansa en un círculo virtuoso capaz de generar tres resultados que han de retroalimentarse: i) un ecosistema natural en mejor estado, ii) una sociedad que obtiene más beneficios con la conservación y sus usos potenciales que con otros posibles aprovechamientos y, por último, iii) un área natural protegida que ve fortalecido su apoyo social. Para ello, Jiménez hace uso de sus propias vivencias en países y proyectos variopintos, de las experiencias de otros técnicos y científicos solventes, y de un sólido soporte documental y bibliográfico.   Palabras clave: producción de la naturaleza, áreas naturales protegidas, dimensión social, preservación de la biodiversidad.

Resumen. La obra “¿Lugares que no importan? La despoblación de la España rural desde 1900 hasta el presente” realiza un profundo análisis del fenómeno de la despoblación en el medio rural español mediante el estudio del proceso y de las diferentes cuestiones que han influido en él durante el siglo XX, con el objetivo de explicar las causas que lo provocaron, exponer la situación actual, señalar las consecuencias en el territorio y, finalmente, desmentir mitos en torno a la cuestión.   Palabras clave: espacios rurales, espacios urbanos, demografía, agricultura, estilos de vida, problema territorial.

Resumen. Esta compleja obra abarca un espacio de tiempo inacabado ya que nos lleva al año 2025, que le da el valor de la prospectiva. Es un estudio detallado y un análisis crítico de la sociedad valenciana que nos lleva a determinar lo que somos en la actualidad, como hemos evolucionado en estos últimos años y cuáles son los conflictos a los que tendremos que hacer frente. Se convierte en un libro imprescindible para entender la estructura social, sus valores, la relación de estos con la economía, la política y la acción social. No está exenta de críticas al sistema social, económico y político, y de pautas que deben hacernos reflexionar a los agentes sociales y a la ciudadanía. Los autores dejan ver a las claras su preocupación por la senda que recorremos como sociedad los valencianos.   Palabras clave: desigualdades territoriales, estructura social, género, población, pobreza, política regional, sociedad digital, turismo, valores sociales.

Lo scopo di questo elaborato è atto alla divulgazione del continuo crescere del mondo dell’Arte (in particolare della Street Art) e di come esso sia di fondamentale importanza per scoprire artisti che, nei loro elaborati, sono stati pionieri e precursori di nuove tecniche pittoriche, liberando l’estro creativo e psicologico ed unendo quest’ultimo alla tecnologia artistica che si prometteva immortale e capace di poter dare vita a grandi cose con limitati materiali. L’intento di questo articolo è far scoprire elementi ed immagini non ampiamenti trattati, quali appunto il mondo della Street Art. Un’arte non sempre capita ed accettata che ha saputo e dovuto aspettare il momento giusto per esplodere in tutta la sua potenza narrativa e conflittuale, con episodi che riguardano la comunità, la popolazione ed il sociale. Ideata soprattutto per entrare a far parte della memoria collettiva con violenza di immagine e di colore. Il progetto mi ha portata a toccare con mano uno dei tanti manufatti artistici del movimento della Street Art, Il murales di Keith Haring ad Amsterdam, facendomi capire, apprezzare e comprendere le problematiche intrinseche a questo tipo di opere, semplici e sintetiche ma mai semplicistiche. È stato quindi condotto un progetto, uno studio ed un’ipotesi di restauro su di una delle tante opere lasciatoci da Haring. Quest’ultimo ha avuto come obbiettivo quello di portare nuovamente alla luce il murales realizzato nel 1986 dall’artista e situato all’interno del Groothandeles Market di Amsterdam. Non più visibile da trent’anni, l’opera era coperta da pannelli isolanti posti due anni dopo la sua realizzazione. Con i Professori Antonio Rava e William Shank, l’associazione Keith Haring Foundation di New York, lo Stedelijk Museum di Amsterdam e con la galleria Vroom & Varossieau specializzata in arte di strada, l’8 Giugno 2018, i grandi pannelli di lamiera metallica sono stati tolti ed è stato nuovamente possibile ammirare uno dei più grandi murales di Haring. society through their artwork, a power that unites sentiment and encourages change.  It is art which affects the community, the population and society. It is designed above all others to become part of the collective memory through violence of image and colour.  This project led me to come into contact with one of the many artistic artefacts of the Street Art movement, the Keith Haring’s mural in Amsterdam, a piece that makes me. understand and appreciate the problems inherent to these type of works, simple, synthetic, but never simplistic.  Therefore, a project, a study and a restoration hypothesis were conducted on one of the many works by Haring. The purpose of this was to shed light once again on the mural made in 1986 by the artist, situated in the Groothandeles Market of Amsterdam. No longer visible for thirty years, the mural was covered by insulation panels placed two years after its creation. With professors Antonio Rava and William Shank, the association Keith Haring Foundation of New York, the Stedelijk Museum of Amsterdam, in collaboration with the gallery Vroom & Varossieau, specialised in road art, on 8 June, the large metal sheet panels were removed and one of the greatest murals by Haring could once again be admired.  

The Cathedral of Barcelona is one of the landmarks of the Gothic quarter of the city, especially for its façade, a monument in the landscape. However, it is a neo-Gothic façade built in a context of expansion of medievalism in different sectors of society, materialized in architecture by neo-Gothic; In addition, the context of the celebration of the Universal Exhibition in the city, in the year 1888, fostered the architectural patronage in Barcelona. The new façade, created under competition promoted by the banker Manuel Girona, replaced the wall of the fifteenth century, built in the face of the impossibility of execution of the original project for economic reasons. Although the theme of the reconstruction of the façade is quite explored by historiography, we will seek to deal specifically with the temporal scope, of the permanence and ruptures. We will discuss the peculiarities and aesthetic, material and ideological approaches between the original Gothic façade, designed by Master Carlí in the fifteenth century, which was never built, and the project actually carried out in the nineteenth century by José Oriol Mestres. We will analyze the relationship between Gothic and Neo-Gothic in that building, between the Middle Ages and its contemporary recreation; we will consider the new constructive possibilities of the eight hundred applied to that significant intervention and we will problematize its intentions on the Cathedral as a historical heritage and plausible memory of manipulations.

The fothcoming movie of director Denis Villeneuve, Dune, has shown an increasing acceptance from several sectors of its potencial audience; in common these sectors manifest approval about the compatibility between the director and the film that is near to come out, especially because of the cinematographic genre it touches. This paper constitutes a study that pretends to answer why unanimous acceptance has created so high expectations and how Villeneuve´s presdiscursive samples that have been broadcasted have guaranteed until now the satisfaction of expected quality standards. This issue is studied from the aristotelian theory on rhetoric ethos and its influence in audience approval; it has been considered the study of some compatible concepts with ethos in order to get accurate conclusions and to make the core of the analized issue clearer: “metafiction” as prediscursive element of diegetic formulation, “interpetive communities” as receivers and constituents of a reference value framework and “pseudo-interactivity” as a process to generate consent and to emphasize author´s ethos . It is concluded primarily that Dune can become the success of metafictional collectivization able to promote an appreciation more centered in the quality of the approach than in the plot.

Este estudio tiene como propósito examinar el fenómeno de la censura religiosa en la Antigua Roma, atendiendo a los principales episodios que precipitaron la quema y destrucción de libros de contenido mágico-religioso. Tras una breve contextualización, se analiza la censura desplegada por las autoridades romanas en época republicana, haciendo hincapié en los sucesos acaecidos en los años 213 a. C. y 186 a. C. En ambos casos, la destrucción y cremación pública de escritos responde a unos intereses centrados en el mantenimiento del orden tradicional y la cohesión del culto. A continuación se estudia el ejercicio de la censura religiosa en época imperial, desde Augusto hasta Septimio Severo. Las persecuciones y actos de censura que se sucedieron a lo largo de este periodo sirvieron, por un lado, como mecanismo defensivo para proteger al emperador de posibles conjuras, y, por otro, como instrumento político para eliminar a posibles adversarios. Así llegaremos finalmente al a conclusión de que la censura religiosa fue un fenómeno excepcional en la Antigua Roma y sujeto a circunstancias puntuales.

In this article we have proceeded to the study of the different dressmakers at the service of Queen Maria Luisa de Parma. One of the factors that will have great importance in the Royal Wardrobe of the sovereign is the insertion of the first dressmakers, who not only made dresses but also textile accessories such as belts, clothes, bands, bags, etc. This series of creators not only made dresses for the sovereign, but are suppliers of garments and fabrics for the royal family. Among the most relevant dressmakers we find Rose Bertin, being a dressmaker for Queen Marie Antoinette and Maria Luisa, in addition to Maria Moulinier and Darguins, Ana Launay and the first male dressmaker, Joseph Martin, who first seized the queen and later court dresses. Through the work of the unpublished documentation consulted in the archives, we know that the work of the dressmakers is no longer carried out in anonymity, but that their work begins to be valued as a creation that reveals great inventiveness and mathematical knowledge, geometry and sewing. From the 19th century on, the figure of dressmaker will be fully established as one of the most important trades in the textile industry.

When a piece of art is as open and attractive as Felix González-Torres ones, it is inevitable to activate alternative readings at the same time and space in which the work is viewed. The omnipresent presence of desire in his artistic production, especially in his candy mountains', will allow him to offer new layers of meaning and to establish relationships between cultural acts (as vital as stigmatized) such as oral sex andcannibalism. These elements also provide new permeable considerations in the work of González-Torres, such as the limits between the public and the private space, the politicization of the body and the rejection of the other.

There is a gap regarding the Spanish American context from the landscape studies point of view, conceived in a cultural sense. Literature directly refers us to Alexander von Humboldt as the main developer and to the Hudson River school as the greatest exponent. However, a critical study in cultural landscape before the visual production of scientific voyages and expeditions, could result in a new approach to the landscape genre and the mapping of nature. This paper proposes an approach to those previous representations, when the landscape was not a landscape.